"It's Alright with Me"

In "It's Alright with Me," the tempo slows for the bridge, and in a way, this slower tempo represents being "tired," although perhaps in a more literal sense than it's used in the lyrics ("I'm sick and tired of being on my own").

When I watched the new lyric video yester-day, I also noticed that the repetition involved in the alliterative "big black" ("I got no money, can't afford no big black car") provides a slight sense of this large size.

"Can't Nobody Love You"

I've noted before that the lines "Oh, I'm gonna love you in the morning / Love you late at night" in "Can't Nobody Love You" contain a temporal merism, but when I listened to Begin Here again recently, I noticed that the extent here is also illustrated by the melody.  "Morning" is sung to Fs, but "night" is sung to lower pitches (and with a melisma:  E A).  At the greatest distance, there's a sixth between "morning" and "night."

"She's Not There"

I listened to Begin Here last week and noticed a few small features.

In "She's Not There," the line "Though they all knew" is doubled by the backing vocals, and these extra voices lend a slight sense of the entirety of "all."

"17 Over You"

Yester-day, I listened to On the Air Tonight and noticed a very small feature in "17 Over You."  In the line "But year after year it's the same situation that's always on my mind," the initial S is maintained in the phrase "same situation," matching this constancy.

"Beyond the Borderline"

I listened to Still Got That Hunger yester-day and noticed two small features in the lines "The heartache and the sacrifice / All worth it just to feel the changing atmosphere / It's very clear" in "Beyond the Borderline."

In the phrase "the changing atmosphere," the note values shift from even quarter notes (for "the changing") to mostly eighth notes (for "atmosphere").  Even musically, then, this "changing" is represented, albeit in a small way.

Rod and Colin both sing the line "It's very clear," and the doubled voices add a sense of degree (for "very").

"Another Day"

Years ago, I noted that in the lines "I don't want to waste my time / Watching ev'ry crime" in "Another Day," "crime" is sung with a melisma (F E D), giving a sense of number (for the modifying "ev'ry").  Last week, I listened to Breathe Out, Breathe In again and noticed that an-other musical element also contributes to this sense of amount:  under that phrase, the bass plays notes of all different pitches, spanning nearly an octave:  E A D.

When I referenced the song again in order to find those pitches, I noticed that in the line "Just a shadow over me," "shadow" really is "over me" in terms of pitch:  "shadow" is sung to the notes F E, and "me" is sung to an A.